‘Tecnicolor’, the pre-last trip of the Mutantes.

There are compilations and successful compilations. Most of the times, they are a pain. They follow the will – or bad will – of the record companies, which are almost always trying to fit the artist’s work into a new trend. If being romantic pushes up the sales, the compilation shall highlight the melting side of the artist. Hardly the artist manages it themselves so the compilation is a masterpiece. Beatles, Madonna, Prince, Roberto Carlos, Marisa Monte, Paralamas do Sucesso are no exception to this rule. Particularly in Brazil, the contracts giving rights of use are still written as per in Stone Age. Although the artist can get some advantages, broadly speaking, the record companies win and the artists loose. This is common in the rock and pop industry, one of the most profitable fields. It hardly happens in literature, theatre, cinema and fine arts – the artist has always a grip on his/her work, manages it more efficiently. Therefore, the artist’s big revenge is when the compilations are presented as a conceptual work and not as a cheap puzzle to increase the record companies’ profits. Without doubt Tecnicolor follows this conceptual format when recorded in 1970. It was, at the same time, a joke and one step ahead: a compilation and a carrier’s album. Mutantes re-dressed songs already recorded in really new outfits, not only a new thread here or a new bottom there. The Mutantes alongside with their permanently revolutionary vision and in its third year of recordings, without fear or shame, re-visited and re-wrote the inners of their history.

According to the Brazilian journalist Carlos Calado, author of the non-authorised but acclaimed Mutantes’ biography, ‘Tecnicolor’ is a virtual title, probably named well after created. The album was recorded in November 1970 in Paris in the Des Dames Studio. It was produced by Carl Holmes. Following a concept of that time, one can say that Tecnicolor was a compilation of poems-processes: versions of masterpieces that turn into new masterpieces.

Tecnicolor is a special anthology. It brings ‘new’ songs of the most recent albums, such as ‘Jardim Eletrico’(1970); ‘Virginia’, ‘Tecnicolor’, ‘El Justiceiro’, and ‘Sarava’ all mixed with old works. There you can find Tropicalist’s hits such as two versions of ‘Panis et Circences’; ‘Bat Macumba’; ‘She is my Shoo Shoo’ (an English version for Jorge Ben’s hottest hit ‘Minha Menina’) and ‘Baby’ (their mostly recorded song with 3 versions). Tecnicolor also houses classics such as ‘I feel a little Spaced Out’ (Ando Meio Desligado); ‘Adeus Maria Fulô’; ‘I’m Sorry, Babe’ (Desculpe Babe); and a tribute to the host France offering a new version of ‘Le Premier Bonheur Du Jour’ from their first album.

They translated all songs into English, except ‘Bat Macumba’, ‘Adeus Maria Fulô’ and of course the French song. ‘She’s my Shoo Shoo’ got even closer of Jorge Ben’s original. They kept only the chorus in Portuguese (Oba Oba she’s my shoo shoo).

Tecnicolor was launched only in 2000. It surprised the audience for sounding so modern. It surprised also because of Sean Ono Lennon’s drawings and handwriting used for the album’s design. The Brazilian critics did not see Sean’s collaboration with good eyes. They said he was not the right person for the job. Bullshit. Brazilian prejudice only confirms Arnaldo Baptista’s theory, our ‘released astronaut’ who every day is immortalised in the international rock-pop scenario. We hope the lesson will one day be learned: as Tom Jobim would put it: The Mutantes, as well as Brazil, are not for amateurs. (Marcelo Dolabela, Oct/Nov 2005).

1-Panis Et Circenses
2-Bat Macumba
3-Virginia
4-She’s My Shoo Shoo ( A Minha Menina)
5-I Feel A Little spaced Out (ando Meio Desligado)
6-Baby
7-Tecnicolor
8-El Justiciero
9-I’m Sorry Baby (Desculpe Babe)
10-Maria Fulô
11-Le Premier Bonheur Du Jour
12-Saravah
13-Panis Et Circenses (reprise)